Suppe / Bogner / Rickenbacher / Heyn / Eitler - Die Schone Galathee - COMPACT DISCS [CD]

Directly after Johann Strauss the Younger, Franz von Suppé is one of the most famous Austrian composers of the 19th century to have paid special tribute to the so-called Inchlight museInch. His oeuvre includes nearly three dozen operettas and light operas as well as countless farces and comedies, which he loosened up by framing them with musical numbers. This was the typical repertoire of Old Viennese folk theatre, which he imaginatively enriched in his various capacities as Kapellmeister at the Theater in der Josefstadt and as Inchchief composer and conductorInch at the Theater an der Wien, as well as on other stages of the Austrian capital later on. His most famous operettas are InchThe Beautiful GalateaInch (1865), InchFatinitzaInch (1876) and InchBoccaccioInch (1879). Although most of his stage works have now been forgotten, his sparkling, animated, captivating and thrilling overtures are supremely vivacious, conveying this composer's skill, his imagination in inventing catchy melodies, and also his creative abilities where design or instrumentation are concerned. Overtures such as InchLight CavalryInch, InchPoet and PeasantInch or InchMorning, Noon and Night in ViennaInch were indispensable parts of Viennese operetta's Inchgolden ageInch and have remained a regular feature of the city's musical life (e.g. The Vienna New Year's Concerts) to this day. As Chief Conductor of the Münchner Rundfunkorchester, Ivan Repušic has selected some of Suppé's best-known and most popular overtures for his new studio production. This album is paving the way for next year's 200th anniversary of the composer's birth.

Although Giuseppe Tartini was taught the first rudiments of music at the College of the Padri dell Scuole Pie in Capodistria, and may have received lessons in counterpoint from the Franciscan Bohuslav Cernohorsky in Assisi, many elements give the impression that the boy had an education that was anything but 'academic,' and that the future 'maestro delle nazioni' largely taught himself. However, there does exist a declared model for the music of Tartini, at least for a certain period that of Corelli. His output seems dominated initially by the influence of his great predecessor in terms of both language and structure. The reference to folk music in his music is also obvious. Another interesting element in the sonatas presented on this is the presence of mottoes of varying length placed next to the incipits of certain movements, and often written in a ciphered cuneiform alphabet invented by the composer. These are poetic quotations, mostly drawn from the works of Metastasio, although not all of them have been identified. At the end of this recording is one of Tartini's very rare vocal pieces, the last composition copied into MS 1888/1. The poem Solitario bosco ombroso, based on a clearly Petrarchan model and on the classical antecedents of Tibullus and Propertius, was published for the first time by the poet Paolo Rolli in London in 1727, in a musical setting by Rolli himself.

Suppe / Walter / Sspo - Overtures Vol 3 [COMPACT DISCS] date 07/18/1995